DIRECTIONS FOR PREPARING # PAINTING THE NEW IMPROVED §9 PUBLISHED ,0\LY KY Edw. F.- Davis & Co., Artist Photographers, '18 South Maix Street fall rivek, mass. TAKK NOTICE:— An oi iginal publication, trade-mark or title, fas for instanca the word "Artograph," is by common law the exclusive property of the person or persons j»ublishin- the same, or adopting such orij^inal title for a business use or purpose. Any person or peisons, copying, using or pul lishing the same without our consent are liable to prosecution. Entfiod according to Act of Congress, in the office of the Librarian of Congress at WuKhington. D. ('., in the .vear 18«2, by Ei)\v. V. Davis & Co. DIEECTIONS FOR — PREPARING f PAINTING THE — NEW IMPROVED PUBLISHED OmY BY Edw. F. Davis & Co. Artist Photographers, 58 South Main Street, fall river, mass. TAKE NOTICE:— An original publication, trade-mark or title, (as for instance the vrord "Artograpli," is by common law the exclusive property of the person or persons publishing the same, or adopting such original title for a business use or purpose. Any person or persons, copying, using or publishing the same without our consent are liable to prosecution. Entered according to Act of Congress, in the office of the Librarian of Congress at Washington, D. C, in the j'ear 1882, by Edw. F. Davis & Co. Press of J. H. Fkanklin & Co.^ * FALL RIYER, MASS. TO PUT THE PHOTOGRAPH UPON THE GLASS. First cut the photograph the exact size of the glass, then soak it a few minutes only, in cold water, and place it between the folds of a handkerchief to remove the surplus water. Then lay it face up upon a piece of common smooth wrapping paper, cut a little larger than the glass. Now with the fingers, rub on thoroughly, and all over the face of the picture, thick starch paste made as follows : Put in a one half pint tin cup a few lumps of starch, about as much as you can hold on a teaspoon, and pour on cold water enough to merely cover it well. Then stir it thoroughly and place the cup over a strong blaze or gas jet. Keep stirring it slowly until it begins to thicken, thcii stir much faster until it is cooked and free from lumps, when it should be semi-transparent or of a slightly gummy appearance. If it looks very white or milky you have not put in water enough or have not cooked it enough. If very clear, thin or watery, there is too much water. If you don't get it right, throw it away and try making it over again. A thin paste works the easiest and may do very well for some photos, which had not been mounted, but for those which have been taken from the card, and especially if they have been much handled or are greasy, the paste must be just right and a great deal depends upon having it so. * After rubbing the paste well upon the picture, rub it also on the inside of the glass. Now lay the glass down upon the 'picture, and pick up the picture, paper and glass altogether, and with the fingers, loosely press the picture against the glass in the center only. Now take the rubbing tool in the right hand, and letting the end or flat part press smoothly and firmly against the back of the rubbing paper, and with a slow rubbing motion, rub out all the paste from the middle or face of the picture first, gradually working it out towards the edges. Be sure to rub out all the air bubbles or glistening places, and to rub the entire picture firmly into contact with the glass, but do not rub it very hard. While rubbing always hold the picture at an angle toward the light, so as to get a reflection on the glass, which will show you when there are any glistening places. The photo, should not be allowed to get too dry, but keep slightly moist by dampening it with a sponge if necessary. Don't get it too wet either or you may tear it. Change the paper for a clean piece occasionally if paste gets upon the back of it. (4) The thicker the paste, the more trouble you will have to work it ?11 out smooth, and the more glistening places you are likely to leave in, but the more certain it will be to hold well to the glass and to prevent glistening from coming in after it is dry j while thin paste works out easier, but it is more likely that glistening would come in after- wards or that it would not stay well on the glass. Best to get used to working the paste as thick as you can well. After it is on nicely let it dry for an hour or two, or if you notice that many glistening places are coming in as it dries, or if it Is on imperfectly, soak, it in water awhile and then carefully pull the picture from the glass, and try pasting and putting it on over again. GRINDING THE PHOTO. After thoroughly dry then begin to grind the paper or picture upon the back with a small piece of emery cloth cut about an inch square. Rub it briskly over the paper with the finger, or by holding one corner with the thumb and middle finger, with the end of the forefinger pressing upon the cloth. Rub in a circular motion mostly, and keep rubbing over every part of the picture until you have nearly ground off all the paper itself, or until it begins to get very thin, and to have a slightly scratchy appearance. When it begins to get very thin you must use caution not to grind it through. Sometimes, and for grinding upon small thick places while other parts look thin enough, you let the end of the forefinger nail press upon the corner of the piece of cloth, and then grind or scratch slightly into the paper by carefully rubbing back and forth over the thickest places until you have the entire picture ground as even as possible. The grinding is the hardest part of the work, but with a very little practice and a few times trying any one can quickly learn to do it successfully.' If you grind a small hole through or small pieces of the paper flake off, don't let this discourage you, but keep on grinding the thicker places and avoid the thin, so that there are no places too thick and none too thin if you can avoid it. Thin places and holes will have to be touched up afterwards in the coloring, and it is more difficult to do this and to paint the picture nicely, than when you have the picture well ground. A great deal depends upon the kind of paper, as to how it will grind, also upon how well you have put it upon the glass. If your paste was too thin or if you had left bunches of paste in the picture it will grind more difficult, or if there is paste left on the back of the paper. CLEARING THE PHOTO. When thoroughly ground, now heat the glass quite hot over a stove, lamp or gas jet. Then with a small piece of paraffine candle, rub over the back of the picture until it has melted over every part. Rub it (5) very thoroughly with the candle, and then while it is still hot, rub it well with a cloth also. If this cloth is well saturated with paraffine ' from the rubbing of sundry pictures, it will work better, and the^sarne I cloth can be used over and over again for this. Always keep the I glass hot enough to keep the paraffine melted while you are rubbing ' it. Now let it cool a little, and before the paraffine has become entirely , hard, take a clean dry cloth and rub off the surplus paraffine ; until it is quite clear of it ; still it don't want to be rubbed too hard \ or too dry, or while it is too hot, or the cloth will absorb too much of ihe parafhne from the picture, so that when it cools small white spots 1 are apt to appear. When cool, examine it thoroughly by looking ' through it, and also by laying it ^own upon something d/a^:^. If it is I not perfectly clear, or if there are ^hite spots or traces of a white 1 scummy appearance, you must heat it again to melt the paraffine, and j then with the ornery cloth grind it briskly over these thick places or I spots, and try to grind or scratch into them somewhat. The emery I cloth will not take hold of the paper so much, or be as apt to grind through while the paraffine is upon it, as when it was dry, so don't be too afraid of grinding through. You should usually keep it hot while , grinding it, although it can also be ground while the paraffne is cold, but it will not take hold so quickly. Still, whether hot or cold, if you grind it too much you might flake off some of the paper or grind it r clear through. You will have to keep rubbing it, and grinding it in ' this way, (either while it is hot or cold) until you think you have got- I ten every place thin enough. If you grind it cold, you must always ( heat it again afterwards. Then let it cool and examine it as before. ) If there are still some opaque looking places or spots, the only \ thing to do, is to keep grinding and heating it, and at the same time rubbing on a little more paraffine occasionally. Some pictures and some paper, is quite troublesome to get clear perfectly, but you must ! keep to work upon it until you have it so, or you cannot color it as well. NOTES. There are various othet methods of making the picture transparent, and in a much easier way without the trouble of grinding at all. These methods are by applying oils, balsams and varnishes to the paper, which readily penetrate it. Wax or paraffine will not penetrate the paper sufficiently to make a brilliant picture of this kind without grinding. Many have used or taught those methods, and sometimes quite pretty pictures have been so made, but the trouble was, the oils or varnishes, &c., wowld soon dry or thicken, and the picture would become spotted or turn yellow. \ A method which has been frequently taught, consists in using castor > oil, which makes the paper beautifully clear, but soon after it was (6) painted, it v/ould begin to fade or spot. Nothing can keep the oil, or any other liquid preparation in the paper, without its drying. This method is very easy to do, and there is much less danger of injuring the picture, and consequently many might at first get a prettier result than by the grinding method, but they should remember that no mat- ter how fine their pictures look at first, they will not last. It is there- fore much better with a little practice to get used to the grinding, and to be able to make a picture which can be recommended to last. When pictures are properly ground and painted, the results are much finer than by the other methods. Besides, the grinding and paraffine method is the only w^ay knov/n to-day by which these pictures, (or any transparent paper photos, to be colored from the back) can be made lasting. Paraffine preserves the transparency and picture, because it is a chemically unchangeable substance, while oils and liquids are not. Paraffine heated over 110° melts, but ordinary heat or cold does not affect it. Pictures made transparent in this way can be put aside for any length of time, and they will bear handling, dust, &c, If they be- come scratched, or if rubbed too Iiard with anything damp, or if water, chemicals, &c. get upon it, it does not affect the paraffine, but may soften the film or paper under it, and so dull the transparency, but this can always be remedied by heating and applying a little more paraffine. After it is once painted and sealed, nothing is ever likely to get at the back of the picture, aad it will not change or lose its brilliancy. Before painting the picture, and before the paraffine is cold, it should be rubbed perfectly smDoth, with a dry, clean and rather coarse cloth, and well polished. Rub off all the remaining paraffine possible in this way. You cannot rub into the picture or rub off too much para- fine when it is cold, without your cloth is damp, or so coarse as to scratch into it. PAINTING TIE SEGtlNB GLASS. FLESH COLOR. Place a second glass at the back of the prepared picture and fasten the glasses together temporarily, with two or three small slips of pa- per, with some paste or gum rubbed upon them. Now paint on the back of the glass as follows : First take the oil tube colors, unscrew their caps and press out a very small quantity of each upon a glass or plate. Of the White you would need much the larger portion. Now take a small c(uantity of the White upon a penknife, and place it in a clear place on the plate. Than take the smillest quantity possi- ble of the Vermillion upon the point of the knife, (a speck not even as large as the head of a pin) and with the knife, mix it thoroughly with the White. It merely wants enough of the Vermillion to tint the White the most delicate pinkish shade, but not red. Next take a little N. Yellow in the same manner and mix it with the Wliite. This will give it a warmer or slightly yellowish shade, more like real flesh. Take a little of the paint on the largest brush and apply some to the back of the glass behind the face. Now turn the picture over and lay it face upwards upon a piece of black cardboard. You can now see the depth of color as it appears showing through the picture. If it don't suit you wipe it off, and try making a different shade. If it looks too pink put in a little more White, or if too pale, put in a little more Red ( Vennillioii) or Yellow. You can compare the tint by the color of y(>ur own hands. The color should never be very deep and avoid getting it very red. Children and persons of delicate complex- ion, will want the faintest trace of either red or yellow. Ruddy or flushed complexions, more red. Some might not want any red but a little yellow. Dark complexioned or elderly persons, may want a fail quantity of red, but enoucjh yellow also, to take off the reddish tint, and to give more warm, or yellowish complexion to the flesh. A great deal will depend on the tone and strength of the photo you are paint- ing. All is, get the flesh color as near right as it appears to you is possible, and when this is decided upon, then spread the color on very thick and opaque, all over the flesh, face, hands, &c. Go over the eyes, mouth, &c., the same as if they were not there, and even mous- taches, whiskers, &c., if they are not very large, can all be gone all over v;ith the flesh color. Sometimes even the hair also, in the same way. It don't make much difference how these pictures look at firsts as they are afterwards to be painted and tinted on the back of the pic- ture. Flesh color should always lap over a little, all around next to the hair, background, &c. When it is applied, it should if anything look a little weaker and pale^ than it is really to appear in the finished picture, (but never darker or more red), as it should be remembered rhat the tints of the cheeks, lips, &c., are to be put on afterwards, on the back of the picture, and this will deepen the complexion so much more. HAIR, WHISKERS, &c. If you did not go over the hair &c., with the flesh color as sug- gested, now, (and especially when the hair or whiskers are large and well defined in the picture) you can make a hair color on purpose to put back of these, but it is not necessary to give them the actual tint desired, by this painting on the glass, as they are invariably to be also painted on the back of the picture afterwards. In nearly all cases where the hair is dark in the photo, and whether it is to be light brown, dark brown or black, the best color to use back of these is light brown. Take White with a little V. Brown mix- (8) ed with it, and which color when applied, will merely make a little more contrast between the flesh and hair, than if you have gone over both with the flesh color. You should avoid using dark shades upon the back glass, or it will make too much contrast and show strong lines between the colors. When hair is white, or very grey in the photo, you can put clear White back of it. If yellow or golden, use N. Yellow, but perhaps with some White in to lighten it, or a little Brown to darken if desired. COLLARS, BOSOMS, WHITE DRESSES, &c. Put clear White back of these, and put it on thick. Small collars and bosoms are usually to be painted on the back of the picture with White, and to be put on opaque, so that it does not make much dif- ference whether it with or flesh color, or any light shade that is under them. But for white dresses, large bosoms, and coUars, they should have plenty of white on the back of them, as it may not always be best to paint them on the back of the picture (especially with opaque White) as they frequently look softer without. On the back glass, the White should always be put on to lap over a trifle at the edges, next to all darker parts of the picture. Painting on the back glass, and especially for the flesh, white and lightest parts of the picture, the object is to give these a softness or ivory-like appearance, which it is impossible to get if painted entirely on the back of the picture. But in the darker parts of the picture, this softness is not required, and it makes little difference whether painted on the back glass or not, when they are painted with opaque colors on the back of the pic- ture afterwards. BACKGROUNDS. The color used for these should almost invariably be of a light shade. Take White with the smallest trace of Blue, and perhaps a little Black also added, to take off the decided blue tint. This color generally answers the best, whether the background is light, dark or medium in the photo. It may not appear as if it was dark enough when applied, or it may look as if there was not enough contrast, so that the entire picture looks as if it was weak after the entire background colors has been put on, but by using a light color you avoid so much showing over of decided lines between the colors, and by afterwards working up the tint of the background on the back of the picture, you get a better effect usually, than by using stronger colors on the back of the glass. (9) COATS, DRESSES, &c. Th^se are to be painted on the back of the picture afterwards, and almost invariably with opaque colors. Therefore, it does not make much difference what colors are back of them on the glass, or whether you put any upon or not. It is frequently about as well to carry the same color you have been using upon the backgrounds, all over the coats, &c., and all other parts of the picture you had not before painted. However, if a person, for the sake of practice merely, wishes to try to get them as near as possible to the shade wanted, by this painting on the glass, it will do no harm to do so. They can use White mixed with Black, back of black coats, &c., Vermillion for red or maroon dresses, Prussian Blue and White to make a bright Blue. Blue and Yellow mixe l together will make Green. Any color can be tried to suit fancy. Jewelry, flowers, &c., or any of the small parts of the picture, are not painted on the back glass, but always afterwards on the back of the picture. When the back glass is fully painted, separate the two glasses, and proceed to painting the picture on the back. NOTE. The foregoing description has been made carefully, to enable any one without previous knowledge of painting or colors, to get well used to them. If the colors on the back of the glass, do not appear to suit them, they can easily wipe them off with a cloth, and try them over again as often as they wish, thus getting some practice before begin- ning to paint on the back of the picture itself. PAINTIITG ON THE BACK OF PICTURES. CHEEKS, LIPS, &c. First take the smallest possible quantity of Scarlet Lake upon the \ brush. (This must previously, and always before using other colors, have been well cleaned, by dipping it in naptha several times, and [ wiping it dry upon a cloth.) Now rub the color lightly upon the mid- - die, or roundest part of the cheeks. \ Then with the finger, soften it and rub it almost entirely off again, ! leaving merely a sufficient trace of the color to give it a tint. Do not { rub it all over the face, but try to remove the surplus carefully, and ) each time after touching it with the finger, wipe the finger clean upon { a cloth. The tips of the ears and also the chin can be slightly tinted ) in the same way. Crimson Lake is usually better to tint the lips \ with. i (10) FACE, &c., If some of the shadows, or lines of the face, appear weak, th^ can sometimes be strengthened, by rubbing on very Hghtly and softly, a little V. Brown, or naix a trifle S. Lake with it. For tinting the cheeks and various parts of tlie face, sometimes use S. Lake with a little N. Yellow. Seldom try to use White upon the face, as this is opaque, and des- troys the softness, but the colors used must be put on thin, and very transparent, and softened down by blending with the finger or with a clean brush. If you don't get it to suit you, wipe it all off with a dry cloth, and try it again. Your fingers should not be damp when you try to soften or to rub color off, and don't rub too. hard. If the color does not come off readily, touch a little Megilp upon it, and wipe it off dry with a cloth. Sometimes, or which is most usually the case, and before trying to tint the cheeks, lips &c. at all, it is well to go all over the face with a mixture of S. Lake and N. Yellow, very thin. It must be neither very red or very yellow. Have a little upon the brush and do not spread it on, but with a circular brushing motion, merely work on the least possible trace of the color. Now rub it almost all off again with the finger, to soften it, and so that the picture still appears quite trans- parent. Enough of the color will remain to give it a flesh tint and warmth to the entire face, and when worked in this way, the picture has frequently more force and brilliancy. If the color is on too thick, you lose the softness, and it will look coarse and chalky. If too thin, it will not have force enough, especially if the photo, is flat, light or weak. After the entire flesh has been given a tint, in this manner, the cheeks, lips, &c. can then be tinted, by working through the other color, a little clear S. Lake or C. Lake as before described. When in putting on the flesh tints, a little of it has rubbed over into the background, &c., now remove it carefully with a cloth from tho e parts. Tinting the face nicely, is, of course, the hardest part of the paint- ing, and until one has tried it a little, it is sometimes about as well to finish most of the other parts of the picture first^ and to do the face afterwards, as they may then be better able to form their opinion as to the depth 'of the face color, and its general appearance. BACKGROUNDS. If these are light in the photo, it is best to keep them light in the picture, and not to try to darken too much. A dark background can not be made light. Usually the best tint to use, is the same as you used on the back glass, that is : White with a little Blue and Black mixed with it. It (11) should be medium light, but still, a trifle darker than you used on the glass, say with a little more of the Blue and Black in proportion to the White. A little Crimson Lake also added, often improves it and gives it a warmer tint. Backgrounds, whether light or dark in the photo, want usually to have a slightly blueish shade, to change it from its color originally as a photograph. If dark in the photo., it will require a stronger blue to give it a blueish t nt, than where the background is light in the photo. Now you want to put the color on smoothly and evenly, not very thick or very thin, (but still, thicker than you work color on the face) all over the background, by gradually working it on with a circling motion of the brush, not spreading it on, but try to get it smooth, so that it does not look scratchy and coarse. You can soft- en it by touching it with the fingers, or with another brush. If there are thin places, where the paper had flaked off in grinding, the color will show through lighter where these places are. Therefore, for these places make a little darker color, by adding more Blae and Black, and try to work it through, and to touch up these places as well as you can, by working on the color directly back of the places, and to make it match with the rest of the ground. If it goes over too far, it will look bad. If you don't get it right, wipe it off with finger over quite a large space, work your background color again all over it, and try to touch it up again better. IMPERFECTIONS. For white spots &c. which are frequently found in photos, especial- ly in backgrounds, (and the same system will apply when they are in other parts of the picture) or for white places caused by tearing, &c., do not carry the color which you are using upon the background, &c., over these spots, but work the color all around the spots or light places first, and then take a dark color, say clear V. Brown or Black, but sometimes with a trace of Blue or White in it, according to the tint you have upon that part of the picture, and now touch these spots carefully and exactly upon the spot, with the dark color. This must be done with a fine brush, and put on very lightly, or it will look coarse. When white spots are in the face, they can usually be touched, in a similar manner with Brown, or add a little S. Lake to it. NOTE. Care must be taken in working on the background color, next to the edge of the face and other light parts of the picture. (12) When a background is dark in the picture, you might use a darker color, but of a similar tint, that is, with more Blue and Black, in pro- portion to the White, and work it on in a similar manner, neither very thick or very thin, but try to soften it and keep it smooth. COLLARS, BOSOMS, WHITE DRESSES, &c. Put on clear White, and if collars are small, it can be usually put on thick and opaque Large collars, bosoms, &c., although the White may be put on thick if desired, they usually look better and softer and less chalky, if you work on a thin coating of White, and rather transparent, the same as working colors on the face. Certain parts can then be sometimes touched up with lines of White, put on more opaque over the first coating, and with very good effect, especially for lace work &c , where it is desired to make it look more fleecy, or to bring out the design stronger. COATS, DRESSES, &c. For these, if they are black, use Plack and White mixed, but don't have it very dark or it will lodk coarse and flat. Put it on thick and opaque, so that no brush marks will show through. Colored dresses, &c., do in the same way, and with colors to suit. Even if a dress is light in the photo and wanted to be blue, pink or green, &c., put the color on opaque. For ties, ribbons, &c., the same system applies. JEWELRY. For Gold, use N. Yellow. For Coral, C. Vermillion, &c. FLOWERS, LEAVES, &c. Color to suit fancy. For Green, mix Blue and Yellow together, and add White to lighten, or more Blue and sometimes Brown or Black to darken. NOTE. If you have not already painted the face, it is well to do so now, before the hair, whiskers, &c., are done, and in the same way as be- fore described. HAIR, WHISKERS, &c. When these are dark in the photo, and are desired to be dark brown, use Brown almost clear, but usually put in a little White with it, to make it more opaque. (13) Don't put it on too thick, If it iooks too brownish or too reddish, add a little Black. For black hair, use Black and White mixed. Never use clear Black, For auburn hair, clear Brown will frequently answer. If not, add a little S. Lake or other red to the Brown. Light brown, golden or flaxen hair will usually take light in the photo. For the first, use Brown and White mixed light. N. Yellow for golden hair or add a little White to it, to lighten, or Brown or Black to darken a trifle if desired. For flaxen hair use White with a little Black added. For white hair put on clear White rather thin, and then you can, if wanted, touch up some of the hairs with fine lines of White, put on more opac(ue, to make them more decided. Gray hair, work over it first with White and then, touch some of the hairs which appear darker in the photo, with lines of Black and White mixed. EYEBROWS. Touch these caretully to darken some, using usually clear Brown put on very thin, or Brown and White mixed, or Black and White. Put it on with a small brush. If you get it too heavy, soften it by touching it with the finger, EYES. If the person had blue eyes, they will probably take light in the photo. Use for these Blue and White mixed, sometimes adding a little Black. Put it on lightly and carefully with the finest brush, and exactly on the eye itself, not too thick or too thin. For dark brown eyes, use Brown and White mixed rather dark. Clear Brown will sometimes answer, if put on thin. Grayish eyes, use Black and White mixed light. Black eyes the same, but darker. Touch the whites of the eyes^in each corner with a small speck of White. NOTE. The picture may now be considered finished. If desired to remove the paint for the purpose of doing it over again or improving it, it can be wiped all off with a dry cloth, while it is still fresh. If any trace of it does not come off readily, rub on a little Megilp with the finger, and then wipe it all oK with a cloth. When paint has become dry and hard, any part of it can be removed without intefering with the other colors, by scraping it caiefully with a fine pointed stick, then rub c/ti a little Megilp, and wipe it all off again. Use no Naptha, Tur- pentine &c., to clean paint from pictures, unless you wish to take all of the color off. Then you could do so, but Megilp usually answers the purpose, and if that does not take all trace of the paint off, Nap- tha will, but after using Naptha, the picture would always have to be (14) heated and Paraffined again, after which, it will be just as good as before, and ready for painting again. Thus, colors can always be put on and taken ofF a picture, over and over, until you get it painted to suit you, and without much danger of injury to the picture, with or- dinary care. BINDING THE PICTURE. Cut a piece of card board the size of the glass, then with a few small pieces of gummed paper, fasten the card board and both glasses all together. Then, with some longer strips of paper, about one half inch wide, bind the whole picture together at the edges. When the paper is dry, it can be trimmed around the edges evenly on the top of the glass, with a penknife. White, or any other colored paper will answer for binding, but black tissue paper is usually best, and gives the neatest appearance to the picture, when shown without a case or frame. TO REMOVE THE PHOTOGRAPHS FROM THE CARD. The Photo, if mounted, should be soaked in cold water usually, for an hour or two, or over night will do no harm. Then lay the picture down upon a flat glass or plate, and press it down in the centre with the fingers. Now, with the right hand fingers, bend backward one corner of the card, so that it will gradually separate from the photo. If it is inclined to stick, soak it more, and perhaps this time in hot water a few minutes, but best to avoid hot water if possible, as it sometimes blisters the photo. Never try to pull on the photo, to sep- arate it from the card, but always push or roll backwards the card itself. Sometimes the card will stick no matter how much it has been soaked. In this case, try to peel off or rub away all the card board possible, then put the picture again in hot water a few minutes, and then with the back edge of a knife, or with the rubbing tool, gradually push the rest of the card back, and try to separate all remaining portions of it from the picture. Next use a sponge dip- ped in hot water and rub it gently over the back of the photo, to re- move any traces of paste or gum. Be careful and not rub off any of the paper from the picture. 3 4-5f 4-